Previously unpublished colour photographs of London's East End showing a time before great change. When a local photographer was invited to examine 1,000s of David Granick's colour slides in early 2017, he knew he'd seen something special. These images capture the post-war streets of Stepney, Whitechapel, Spitalfields and beyond in the warm hues of Kodachrome film at a time when black and white photography was the norm. Acquired by Tower Hamlets Local History Library Archives in the early 1980s and preserved there safely since, these photographs show an East London on the cusp of social change.
Intense, other-worldly, after-hours images taken in one of Europe's most iconic cities - Christian Reister's black-and-white photographs capture the surreal, threatening and ethereal character of Berlin at night. As an insider the German photographer scans the city for unstaged, unexpected moments and seeks out the strange night-time energy of a place and its people. See Berlin as it comes alive after dark and get lost in the underground scene of a city known for its alternative nightlife.
Wild, brash, outrageous and laced with humour, Dougie Wallace's photos capture the extreme variety of street life in one of London's most iconic areas: Shoreditch. Old people, young revellers, street vendors, those from many ethnic backgrounds and at all times of day - no one is immune to Wallace's sharp eye. They are captured in vivid colour in over 50 images in this beautiful book.
Published to mark the 10th anniversary of the 2008 global financial crisis, these street photographs are a study of one of the most crucial locations for the world economy: the City of London. Shot over a decade to document the rise and fall of the crash's aftermath, McLaren has captured these surreal and tense times with a critical and satirical eye.
保持你的眼睁开 英文原版 Keeping an Eye Open: Essays on Art 基本信息 出版社: Jonathan Cape (2015年5月7日) 平装: 288页 语种: 英语 ISBN: 022410201X 条形码: 9780224102018 商品尺寸: 15.3 x 2.6 x 22.6 cm 商品重量: 445 g ASIN: 022410201X 内容详情 Flaubert believed that it was impossible to explain one art form in terms of another, and that great paintings required no words of explanation. Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue... It is a rare picture which stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged. Julian Barnes began writing about art with a chapter on G ricault s The Raft of the Medusa in his 1989 nove